Portland Moth fans, We are thrilled to bring you a monthly storySLAM at Holocene!
7pm | $8.00 advance
6:45pm - Doors for Premium tickets/ 7pm Doors for GA tickets/ 8pm Stories begin
$16 Premium tickets and $8 general admission tickets will be available a week before the event at www.themoth.org
*Reminder that seating is first come, first serve, and it is recommended to arrive early.
This month's theme: DO-OVER! Prepare a five-minute story about second chances. Wiping the slate clean, calling a time-out, burning a first draft, forgetting actively. Whether just wishful thinking or concrete opportunity, channel the eternal sunshine of a spotless mind and tell us about your DO-OVER.
Media Sponsors: OPB, Literary Arts and Back Fence PDX
Seance Crasher ALBUM RELEASE
Join us for an album release celebration with local piano-pop outfit Seance Crasher!
8:30pm | $6.00 day of show
Seance Crasher's new record 'Piano Pills', is a six song collection of deeply lyrical pop songs. Seance Crasher's Kevin Rafn created the record during time off from his obligations as a touring keyboard player in 2013. Rafn approached Portland music veteran Jeremy Wilson in the Spring of that year and enlisted him to engineer and co-produce a new record. Wilson's southeast Portland studio, Mastan Music, served as home base for all the tracking on 'Piano Pills' which was recorded on Wilson's 24 track tape machine. The title comes from hours spent practicing keyboard parts at a community music center where Rafn daydreamed idly about a piano chops performance enhancing drug. That same studious, lone wolf work ethic shows itself in the record's verses and construction which all serve as a keyhole into the songwriter's imagination. Largely influenced by piano pop champions like Nilsson and Rundgren, 'Piano Pills' is a balanced and nuanced work where classic rock motioning meets well with Rafn's love of vintage synthesis and his own innate slacker poet lyricism.
Our monthly dance party on the cutting edge of global club welcomes the N.A.A.F.I producer collective out of Mexico City!
9pm | $5.00 day of show
Club Chemtrail is a portal that opens its gates every 3rd Thursday of the month at Holocene, hosted by your resident DJs SPF666 and Commune. Inside, we will explore the outer realms of various experimental dance music genres from various club scenes across the globe. In addition to sonic elements, this experience will be enhanced by both moving and stationary viewing pleasures, provided by local video and installation artists.
with resident DJs
Just $3 before 10:30pm
9pm | $5.00 day of show
Rockbox is a party for everyone. If you have experienced any of the last seven years of Rockbox, you have heard everything ranging from A-Trak to Amerie, Beyonce to Beenie Man, and Mariah to Mayer Hawthorne, all mixed with the skill and technique of some of Portland's top selectors. The number one thing Kez and Matt Nelkin aim for every third Friday is to provide a flawless and exciting mix that only adds to the listening experience. As the duo proceeds to look for the perfect beat, their love for providing a consistent dance party for Portland is contagious. And, even after seven years, their enthusiasm is still growing and the bar is still rising.
with resident DJs:
Plus special guests:
9pm | $5.00 day of show
Gaycation is a monthly queer dance party. Currently in its 6th year of fierceness, Gaycation showcases local & international queer performers and strives to create a super hot, inclusive, homo dance party.
Mesmerizing jangly rock from these K Records artists.
8:30pm | $6.00 day of show
In the Wet, Wild, and Woolly Bully Northwest, sweet rock n' roll just hangs off of the branches of our dense Evergreen forests. Reverb can be heard in the gentle spring rains, harmonies can be felt in the radiant sunbeams peaking through our overcast skies, and psychic vibrations grow up from the rich soil. The Shivas, from Portland, OR, are master botanists of this bountiful harvest, continuing in the long line of fellow area cultivators from the past like The Lollipop Shoppe, Don & The Good Times, The Fabulous Wailers, and The Frantics. Singer/songwriter Jared Molyneux spent an entire adolescence spent chained to his stereo hi-fi absorbing every sonic morsel offered from his local oldies radio station, eventually imagining The Shivas as a way to exorcise the litany of jangled chords and bangled howls that began festering within his clever mind grapes. Enter Kristin Leonard, a very talented young woman who is not only a ravishing beauty on the microphone, but also a raging beast behind the traps, who expertly augments Jared's swinging medallion songcraft with her potent mix of pleasure and pain. Their symbiosis of instruments and voices is nothing short of joyous. Joining the proceedings on both stage right and session left, Irish firebrand Rob Mannering can be seen wielding and slashing his hearty Telecaster like he himself is wound with an active magnetic coil while being armed with smart and decisive guitar sensibilities that keep this cosmic ship headed in the right direction. Next up, this writer would be remiss if he didn't heap praise on Eric Shanafelts' skillful and bubbly bass maneuvers, which act like deliciously funky rubber bands that tightly hold the collective groove together and never snap under pressure. When these forces combine, the end result of this concoction acts as a tonic for the mind, body, and dancefloor. And if all of this craziness wasn't enough, the crew recently unleashed their longtime secret studio weapon Ian Hartley into their live setting, who not only adds more "throb" to The Shivas "heart" but also turns Kristin's already perfect pounding into a double drum dynamic, making this band virtually unstoppable. If you have ever witnessed any of their hundreds of gigs, parties, or sock hops they have graced nationally over the last couple of years you will know this is gospel. Their album "WHITEOUT" (KLP 243, Burger put out the cassettes) from 2013 and their 7 inch "You Make Me Wanna Die" (IPU 143) from last April showcased their abilities to transfer this magical live mania to tape, a necessity for witnesses looking to harness some of The Shivas patented brand of love punk for home consumption. If either of these releases are any indication of what these guys are about to unleash on the masses with their upcoming October long player, then something tells me I'm into something very good.....and so are you!
We're thrilled to host legendary SF-based indie pop outfit The Aislers Set.
8:30pm | $15.00 advance $15.00 day of show
The Aislers Set occupy an enviable place in the pop pantheon. Brimming with drunken romanticism, sharp pop sensibilities and timeless melodies, The Aislers reveled in the history of great POP, spiking their classicist 60s-tinged tunes with pure post-punk energy and originality of bands like the Fire Engines and The June Brides. Every song is a meticulously constructed sound world, where the arrangement and instrumentation sublimely, uncannily bring each tune to completeness.
The Aislers Set began in 1998 as a vehicle for the songs of Linton, who had most recently co-led San Francisco's legendary Henry's Dress and drummed in Go Sailor with her pal Rose Melberg. With Henry's Dress she had helped guide the band from it's noise/drone beginnings to the explosive mod/punk fusion that made them such a force to be reckoned with. With The Aislers Set the original goal was just to write, record and document.
The result was the first Aislers Set album, 1998's Terrible Things Happen. Not content to merely (!) write some of the most sublime pop tunes this side of Ray Davies, Linton got busy in her garage studio and recorded and produced almost the whole record by herself. It's a remarkable feat, and a love for such producers as Phil Spector and Brian Wilson shines from each and every groove. This is no shameless 60's pastiche, though, with the echoes of classic pop past filtered through a totally 90's aesthetic. It's a beautiful, multi-layered record and a genuinely great achievement of home recording.
During the course of recording TTH, Linton was joined by some friends who became the full-band Aislers Set line-up: Alicia Vanden Heuvel on bass, Yoshi Nakamoto on drums, Wyatt Cusick on guitar and Jen Cohen on keyboards. It's this fantastic line-up that toured in 1999 and put together the second album, 2000's The Last Match. Where Terrible Things Happen's synthesis of 60s mod-pop, 70s punk and 80s/90s indie flavors provided an end-of-the-century summation of where pop had been and where it was heading, The Last Match upped the ante even farther.
More ambitious in conception, The Last Match expanded the band's sound into more orchestral areas. While the songs are still driving and catchy as a fish hook, the arrangements are far more sophisticated. The instrumentation has been augmented by a Jen's vintage keyboards/organs and various horns, giving the tunes the timeless feel of classic groups like the early Bee Gees, The Zombies and The Millennium. Still preferring to record in the garage where they are allowed unlimited time for experimentation, the band had no problem crafting an amazing sounding album that could have sprung fully-formed from the hallowed studios of Gold Star. This is no murky lo-fi production, but a fully-rounded and rich-sounding recording with a warm, analog sound.
The Last Match was a roaring success, garnering fantastic reviews and spurring the band to tour the US, Japan and UK multiple times, with bands (and fans) including as Belle & Sebastian, Black Dice, The Gossip, Erase Errata, Comet Gain and Sleater-Kinney. The band even achieved the ultimate badge of indie honor, recording a session for the legendary John Peel. Even more, The Last Match established The Aislers Set as one of the most beloved indiepop bands of their generation. It was a must-listen album, one that fueled fond memories, sparked love affairs, set off spontaneous dance parties, and reminded us all of the power of songs and song-craft and POP. It's chiming guitars and indelible melodies were heard everywhere from London to Tokyo, from Glasgow to Malmo: The Aislers truly came into their own with The Last Match
2003 saw the release of the band's final album, How I Learned To Write Backwards. At once more baroque and edgier than its predecessor, How I Learned To Write Backwards expertly wound together so many strands of pop history with such personality, atmosphere and style that there's never any doubt that you're listening to a band with vision. Far from being a "name the reference" game, The Aislers used the past as inspiration rather than a blueprint, so the echoes you might hear of, say, Phil Spector's Wall of Sound or Laura Nyro's soulful lyricism are so well-integrated into the Aislers' sound that they're more akin to the spice in the stew rather than the stock of the soup.
While the band had stopped playing and recording together by 2004 thanks to life commitments, their reputation has only grown and sporadic reunion shows and mini-tours have met with rapturous response. Now Slumberland and Suicide Squeeze are proud to join hands to re-release these fantastic, seminal albums in remastered form, and on vinyl LP again for the first time in over a decade. All three albums will feature new liner notes, updated art and sharp sound. Further, the band will play a select set of shows this Fall, and a new album of singles and rarities is being prepared for release in early 2015.